Category: Alternative (Page 138 of 155)

Notes From The Orphanage VII: “…And We’ll Watch Them Fall”

November 28, 2006 / Will Harris

Rex Moroux, Royal Street Inn (self-released) – The first thing that’ll probably strike you about Rex Moroux is that he sounds an awful lot like Adam Duritz of Counting Crows. Unfortunately, not much else will probably stick with you. Nice enough Americana stuff, but not terribly memorable.

Marty Rudnick, More Songs about Cars and Girls (Sandbox) – Marty Rudnick pays tribute to the collected works of Brian Wilson, with production assistance from Australian pop god Michael Carpenter. Stay tuned for the bonus tracks, which include a Beach Boys and a Beatles cover. I apologize for only just now getting around to writing about this, since it’s a wonderful summer album…but, hey, there’s always next summer, right?

The Thermals, The Body, The Blood, The Machine (Sub Pop) – With a voice that’s somewhere between Roky Erickson and Stan Ridgway, it’s clear that Thermals frontman Hutch Harris (no relation) is gonna be an acquired taste, but this is an energetic rock album with some post-punk tendencies. The lyrics, not to mention the artwork, have some pretty strong indictments of modern religion, but given that their last album was called Fuckin A, would you really expect them to pull any punches?

Urban Delights, Revolution No. 1 (Unique) – If you remember ‘90s dance heroes Apollo 440, you’ll love these guys, since they’re led by Harry K, who was Apollo 440’s primary songwriter. Urban Delights do the blending of dance beats and rock rhythms as well as anyone, with songs like “Crush” and “Y U Cum 2 The Party,” a floor-filling, jump-to-the-beat number that’s as good as its title suggests. The more I spin it, the more I like it.

Pepper, No Shame (Atlantic) – Hailing from Hawaii, these guys have a white-boys-doing-reggae thing, like Sublime, 311, or early Smash Mouth. It’s better than you might think, given that description…and if you’ll just stay tuned through the third song, “No Control,” you’ll believe me. But, guys, trust me, you don’t need to intersperse skits throughout the album. It doesn’t work for most rappers, and it doesn’t work for you.

El Presidente, El Presidente (Sony BMG) – Part dance, part disco, part funk, and just enough rock to keep things interesting, El Presidente have some pretty good tunes on their self-titled debut, which is just now making it to the States after a 2005 UK release. Unfortunately, they’re in the shadow of the more popular Scissor Sisters, and, unlike the Sisters, they don’t have Elton John in their corner. Still, “Rocket” and “100 MPH” kick ass, “If You Say You Love Me” is nice and dreamy, and the rest of the disc is quite likeable as well.

Ronnie Milsap, The Essential Ronnie Milsap (RCA / Legacy) – We’ve all been through this: someone mentions an artist, you say, “I know the name, but I don’t know anything by them,” and they say, “Yeah, you do, you just don’t know you do.” That’s totally Ronnie Milsap. There are forty songs on this collection, and even if you’ve never listened to country music, you’ll know the better part of a dozen of these tracks. Examples: “Daydreams About Night Things,” “Smoky Mountain Rain,” “Stranger In My House,” and “I Wouldn’t Have Missed It for the World.” See, I told you.

Alternative, Artists, CD Reviews, External Music, Pop, Rock

YouTube Video Vault: Dandy Warhols, “Not if You Were the Last Junkie on Earth”

November 22, 2006 / David Medsker

I only saw this once on MTV, but I remember it being an absolute hoot. My memory, for once, served me well. Half game show, half ’60s-style dance show in ’90s-style heroin chic dress, this is one for the ages.

Alternative, Rock, Songs, Videos

Notes From The Orphanage VI

November 21, 2006 / Mike Farley

It’s Thanksgiving week, and a good time to do a good deed and bring in an orphan. In our case, that means reaching into the bin and showing love to some CDs that have been collecting dust for too long. Read at your own risk.

The Blood Brothers: Young Machetes (V2)
The first track is called “Set Fire To the Face On Fire,” and the lyrics start out “Fi-Ah,” Fi-Ah, Fi-Ah.”—how Beavis and Butthead of The Blood Brothers. But it gets better, depending on where you stand on the whole scream vs. sing thing. The Blood Brothers are a cross between Jane’s Addiction, The Cure, Led Zeppelin, and every screaming death-metal band you’ve ever heard. All of that makes them unique and interesting, though at times lead singer Jordan Blilie’s voice is like 100 nails on 100 chalkboards.

Riley Baugus: Long Steel Rail (Sugar Hill)
Yeeeeeeeee-haaaawwwww! If you take that toothpick out of your mouth long enough to sing along to this twang-fest, you are in for a wild ride on the Riley train. Hence the title of the record, which really does make you feel like you’re on a train barreling across the U.S. of A. It’s Americana at its finest, not only because of the songwriting, but because of Baugus’ spectacular fiddle and banjo play.

Meg & Dia: Something Real (Doghouse)
This is chick-fronted power pop with some really slick guitar work and even better songwriting. And now for the other shoe to drop. Lead vocalist Dia sings in that baby talk, fingers in mouth vocal style made famous by Vanessa Carlton, and it’s never sounded more tired. The thing is, though, you can tell she’s got the talent; she just needs to mature and use her voice more effectively for this duo to have success.

Ella Rouge: self-titled (Moby Dick)
ABBA front man Benny Andersson has son. Son grows up to play in band so as to follow in dad’s footsteps. Son has lots of dad’s musical ability. However, son listens to a bit too much Creed while growing up, therefore sabotaging the debut album for his band, Ella Rouge. It doesn’t suck, but at times is the musical equivalent of a tug of war between David Cassidy and Scott Stapp.

The Nice Boys: self-titled (Birdman)
They call this type of music glam rock, or, as their bio states, “straight-ahead-stadium-glam-rock.” More accurately, this is guitar-driven rock with very little attention to melody and songwriting. The opening track, “Teenage Nights,” is catchy enough but the rest of the ten tracks will have you asleep and snoring in about two minutes. This is one of those bands that critics love for no reason whatsoever, but this critic knows better.

Taylor Swift: self-titled (Big Machine)
Here we go again, another cute teenage girl that’s handed a guitar at an early age and learns how to sing and write songs. But this country artist has a future because somewhere in that teenage body is a pretty strong voice, and her songs are Nashville-ready. The downside is that she too has listened to too much Vanessa Carlton and Michelle Branch (see Meg & Dia review above), but the upside is that she’s already a better singer than “singer of the year” Carrie Underwood. Did you hear that, Faith Hill?

Tiga: Sexor (Turbo Recordings)
With songs like “Welcome To Planet Sexor” and “The Ballad of Sexor,” you can’t possibly take this electronic album seriously. And you’d better not, because that comic relief is the only redeeming quality. It’s like a five-year-old made up lyrics and put them to some cheesy beats on his Casio. Yes, I said Casio, and I don’t care if that dates me. Now get me off of this spaceship on planet Sexor and fly me back to Earth.

Paula DeAnda: self-titled (Arista)
Okay, this is getting ridiculous. Here is another sixteen-year-old artist with a major label release and better than average voice. But the difference between everyone else and this J-Lo-esque teen is that she has the likes of Clive Davis, Ne-Yo, Timbaland and Diane Warren on her team. That’s like me batting in a lineup with Albert Pujols, Derek Jeter and David Ortiz—no matter how many automatic outs I cost my team, we’re still going to win. Same with young Paula and her R&B/pop debut, which is like liquid sugar pouring out of your radio.

Alternative, CD Reviews, Electronica, Pop, Rock

On the latest volume of the “O.C.” soundtrack…

November 20, 2006 / Will Harris

…please to find the worst cover of the Sex Pistols’ “Pretty Vacant” since the version on Joan Jett’s 1990’s album, The Hit List.

Click here if you don’t trust me. “Oy! Oy! Oy!” Gimme a fucking break…

And, y’know, I was originally psyched at the idea of hearing this compilation, given this all-covers track listing…

Goldspot – “Float On” (Modest Mouse)
Rock Kills Kid – “I Turn My Camera On” (Spoon)
Lady Sovereign – “Pretty Vacant” (The Sex Pistols)
Mates of State – “California” (Phantom Planet)
Pinback – “Wasted” (Black Flag)
John Paul White – “Can’t Get It Out Of My Head” (ELO)
Rogue Wave – “Debaser” (The Pixies)
Syd Matters – “Hello Sunshine” (Super Furry Animals)
Tally Hall – “Smile Like You Mean It” (The Killers)
The M’s – “Come Into Our Room” (Clinic)
Band Of Horses – “The End’s Not Near” (The New Year)
Ashtar Command – “Into Dust” (Mazzy Star)

…but the Pistols cover has me on edge and disturbed at how awful some of the other tracks might be.

Alternative, Artists, External Music, News, Songs

Get to Know: Spoon

November 15, 2006 / John Paulsen

Spoon is the brainchild of frontman/guitarist Britt Daniel and drummer Jim Eno. Hailing from Austin – the home of the University of Texas – the band’s sound feels as if it were shaped in a college town, benefiting from all the creativity and calculation in the air. With help from co-producer Mike McCarthy, Daniel pays great attention to detail and each of the band’s tracks is pleasurable to the ear in one way or another. Over the past decade, the band has released five albums, and while their early punk stuff drew comparisons to the Pixies, the band has been able to refine its sound over its last four releases, developing a kind of rock that is both melodious and thoughtful. Spoon is working on a sixth album, tentatively titled Trouble Minx, for release sometime in 2007. But for now, listen to these 11 songs, and pay special attention to what’s going on in the lower frequencies. Daniel’s ability to create interesting, repeating bass lines and piano riffs is almost unparalleled. When possible, I included links to the songs at iTunes and Amazon and also included either a proper video or live performance for each song (from YouTube). Spoon is a terrific live band, so if you get the opportunity, be sure to see them perform.
Spoon MySpace Page | Official Site
BE Reviews: Girls Can Tell | Kill The Moonlight | Gimme Fiction

“The Way We Get By” – Kill the Moonlight
This is the first song I play for people when I’m trying to get them into the band. Daniel called this track “one of the most immediate” of his tunes, going on to say, “Once I sang that chorus the first time and got it on tape, I kind of knew it was going to be a good one.” It’s catchy from the start – he sings over an infectious yet delightful piano riff. It was also a breakthrough of sorts; the song ended up on the first Music from the O.C. mix. You can watch a decent live version here or watch an “O.C.” video below, which has the song as its soundtrack.
iTunes | Amazon

“I Turn My Camera On” – Gimme Fiction
This track has a dance vibe that surprised even Daniel, who said, “Jim [Eno] – the drummer – was the guy that sent it into sort of this dance feel. I didn’t really have that idea for it. I wasn’t sure what it was going to be, but he really sent it off into that direction.” Daniel’s Jagger-like falsetto completes the track. The band got more love from another TV show – the song ended up on the “Veronica Mars” soundtrack and Daniel even appeared in an episode, singing a karaoke version of Elvis Costello’s “Veronica.”
iTunes | Amazon

“They Never Got You” – Gimme Fiction
Daniel described this track as one that “was more of a personal tune to me, about what it felt like to me growing up.” The message is clear: it’s OK if you don’t fit in. Notice the gorgeous bass line. If this track were required listening for every teenager, high school would be a lot easier.
iTunes | Amazon

“Everything Hits at Once” – Girls Can Tell
This is the most accessible track from 2001’s Girls Can Tell. You can hear the band’s sound developing in the subtle keys and the interesting guitar in the bridge leading up to the catchy chorus. Daniel describes the song’s genesis: “I remember thinking that once I had it, that I was really excited about the melody…[we] went through four or five different choruses trying to come up with one that really stood out and made it a great song.” The band put together an animated video for the song, which you can watch below.
iTunes | Amazon

“My Mathematical Mind” – Gimme Fiction
The piano riff that drives this track is so simple, yet so emotive. This song was written when Daniel left Austin for Galveston for a while to focus on his songwriting. He describes the process: “‘My Mathematical Mind’ was one that just came up there and it was like – ‘Let’s just throw this down. I know I’m not going to be able to use it, but let’s just throw this down and put it on tape.’ And those are sometimes the best songs, those that you just think like, ‘Ah, let’s just throw down this stupid idea.’” The guitar gets a little rough at the end, mirroring the frustration he felt about his songwriting.
iTunes | Amazon

“I Summon You” – Gimme Fiction
This melancholy track seems to be about the pain associated with a long-distance relationship. Some of the lyrics – “The law enforcement’s impressed you’ve survived to this age/ Strapped-up soldiers / They’ll lock you in a cage without goodbye / For a nickel bribe” – could be describing someone who’s in jail, or maybe they’re just emotionally incarcerated.
iTunes | Amazon

“Small Stakes” – Kill the Moonlight
This track starts with a quickly repeating guitar riff and never lets up. Daniel uses an echo on his vocal, which is rare for him. The ascension in the verse is especially dramatic. The track seems to be about the contrast between those that chase their dreams and those that don’t.
iTunes | Amazon

“The Beast and Dragon, Adored” – Gimme Fiction
This is my favorite Spoon song, but I must warn you, it takes a little while to sink in. The title of the song comes from the name of a French tapestry in one of Daniel’s grandmother’s art books from the ‘50s. He describes its inspiration: “…that was when the Iraq war was starting and I was watching way too much (CNN) Headline News. It was basically on all the time in my shitty little apartment and the world was feeling a little bit apocalyptic.” It’s appropriately dramatic, and the random guitar screeches portray a feeling of anger. After about five listens, you’ll either think this song is insanely good or you’ll never want to hear it again.
iTunes | Amazon

“Utilitarian” – A Series of Sneaks
Spoon’s second full-length effort, A Series of Sneaks, was a transition of sorts for the band, as it moved from punk to a cleaner rock sound. This track features a strong opening guitar riff that is the backbone of the song. It’s a fairly simple track, but still effective.
iTunes | Amazon

“Sister Jack” – Gimme Fiction
This track has a good beat and an infectious chorus. It’s the band’s fifth most downloaded song at iTunes and is more immediate than most of the band’s work.
Video at YouTube | iTunes | Amazon

“Vittorio E.” – Kill the Moonlight
This stark song joined “The Way We Get By” and “My Mathematical Mind” on the soundtrack to Will Ferrell’s movie, “Stranger than Fiction.” The lone guitar conjures up feelings of isolation and introspection. The song’s title comes from a subway stop in Rome; Vittorio Emanuel was the first king of a united Italy in the late 1800s. See, you learn stuff when you listen to Spoon.
iTunes | Amazon

Spoon fans – what are your favorites?

Alternative, Artists, External Music, Get to Know, Playlists, Rock, Songs

Spoon